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In September 2020, Dailymotion partnered with Mi Video, the global video app developed by Xiaomi. [18] The partnership will help Mi Video to increase its engagement with its audience and continue its growth momentum. Access to Dailymotion's global and regional music, entertainment, sports and news catalogues will be provided to Mi Video users. [19]
The AOL.com video experience serves up the best video content from AOL and around the web, curating informative and entertaining snackable videos.
Peel's stand-in on his BBC Radio 1 slot, Rob da Bank, also played the song at the start of the final show before Peel's funeral. [citation needed] The song mentions two England cricketers in its lyrics – "And it could be Geoff and it could be John" refers to Geoffrey Boycott and John Snow. The song is dedicated to both of them. [4] [5]
A stretch of the natural river now known as Peel's Cut in 2017, including the Andresey Bridge. Peel's Cut is a man-made waterway connected to the River Trent in Burton on Trent, Staffordshire, in England. It was originally constructed by Robert "Parsley" Peel in the early 1780s to drive a cotton mill. The mill closed in 1849 and the cut was ...
The Peel Session is a collection of recordings by Syd Barrett released on 25 January 1987. This EP contains the five songs he performed for the John Peel Top Gear show, recorded on 24 February 1970 [ 5 ] and broadcast shortly after.
Swift played this song early on in her set, as the Lover era opened the show, but it didn’t make the cut for the film. ‘Long Live’ After Speak Now (Taylor’s Version) was released in July ...
The music video for "Touch, Peel and Stand", directed by Frank W. Ockenfels 3, [4] has a disgruntled young man (Lead Singer Travis Meeks' friend Levi Sulivan) watching TV in a filthy, rundown house. On the TV screen, the band is performing the song in a gray, open-spaced room and appears to acknowledge the man through the screen. He eventually ...
Bagtwo (Jeffery Levy) – design, artwork; Roy Cicala – engineering; Jack Douglas – engineering; Bill Ferrara – photography; Robert L. Heimall – art direction Allan Steckler – production supervision